Essays on the Performing Arts
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What Audiences Haven’t Seen Before
Gennadi Nedvigin, Joan Boada and Jaime Garcia Castilla in Yuri Possokhov's "Fusion." Photograph: Erik Tomasson
On the West Coast, a Distinguished Company Avoids Showing Any Gray
Members of San Francisco Ballet in Mark Morris’s Drink to Me Only. Photograph: Erik Tomasson.
Steps That Outshine Big City’s Bright Lights
Ashley Bouder and Jonathan Stafford in George Balanchine’s “Tschaikovsky Piano Concerto no 2”. Photograph: Paul Kolnik.
Two Old Masters, Partnered Perhaps With New Ones
Darci Kistler as the Sleepwalker with Nikolaj Hübbe as the Poet in Balanchine’s “La Sonnambula”. Photograph: Paul Kolnik.
Save the Last Dance for Covent Garden
Darcey Bussell taking curtain calls after her June 2007 farewell performance at the Royal Opera House, Covent Garden. Photograph: Johan Persson.
Ballet After Balanchine: 3 Choreographers Lead the Way
Sterling Hyltin, front center, performing "Odessa" on May 4 with fellow members of the New York City Ballet: From left, Joaquin De Luz, Amar Ramasar and Taylor Stanley. Photograph: Andrea Mohin.
‘The Most Incredible Thing’ Brings Hans Christian Andersen’s Fairy Tale to Life
Justin Peck’s “The Most Incredible Thing,” performed by New York City Ballet at Lincoln Center, sets a love story to the passage of time. Photograph: Andrea Mohin
A World Premiere of Pure Dance to a Familiar Score
Amar Ramasar and Sara Mearns in the world premiere of Justin Peck’s “Rodeo: Four Dance Episodes”. Photograph: Andrea Mohin.
Kaleidoscope of Destiny’s Patterns
New York City Ballet Company members in "Year of the Rabbit," at David H. Koch Theater. Photograph: Paula Lobo.
A New Work That’s Steeped in the Classic, but Still Individual
New York City Ballet Sean Suozzi in “In Creases,” by Justin Peck, which had its premiere at the Saratoga Performing Arts Center on Saturday; at the pianos were Elaine Chelton and Alan Moverman. Photograph: Paul Kolnik
A Company Caught in a Crucible of Challenges Rises to the Occasion
Alexei Ratmansky’s “Russian Seasons”, danced by New York City Ballet. Photograph: Julieta Cervantes.
Luminaries and Hopefuls Join to Ensure Choreography’s Future
Justin Peck used members of the School of American Ballet for his “Tales of a Chinese Zodiac,” set to music by Sufjan Stevens, on Saturday at the New York Choreographic Institute’s presentation. Photograph: Julieta Cervantes
London Troupe and New York Visitors: Ripples in and Out of Sync
Sarah Lamb and Carlos Acosta of the Royal Ballet in Jerome Robbins’s “Afternoon of a Faun”. Photograph: Peter Mcdiarmid, Getty Images.
From a Master Craftsman, Recurring Themes of Divinity, Death and Desire
Lisa Viola and other dancers of the Paul Taylor Dance Company in Taylor’s Equinox. Photograph: Richard Termine.
Master Builders of Ballet’s Future
Jerome Robbins rehearsing “The Concert” in 1956 with New York City Ballet. New York City Ballet Archives.
A Program in Four Parts, With One a Farewell
Giovanni Villalobos and Sterling Hyltin in Christopher Wheeldon’s Rococo Variations. Photograph: Paul Kolnik.
Bound for New Life, Set to Music of the Old World
Maria Kowroski and Tyler Angle in Mauro Bigonzetti’s Oltremare. Photograph: Paul Kolnik.